Frans can I ask you…. I can’t think of another place to goto when in Lydian. I thought C Lydian to C minor to G…. Or C Lydian to Ab Lydian… but it sounds too cliche… where would you go?
@ O M Your question is far more general than what is covered in this tutorial. It is more about composing with modal harmony. The Lydian mode is the obvious candidate for heroic-epic style phrases, but at some point you will want a change, either by moving to a new root (unimodal-polytonal) or to a fresh scale (polymodal-unitonal), or both. All options are available, and you suggest two paths, of which one has overall tonic-dominant, major-minor-major character (CLyd-Cm-G), the other film music Riemannian chromatic mediant character (CLyd-AbLyd). Both might work, depending on the final setting. Have you already planned the transition, moving from source to destination modal scale. Here are 2 suggestions: 1) Use the melodic modulation technique (2 tutorials: Schillinger's Theory of Pitch scales, 1st Group Pt3, and Melodic Modulation), 2) Create ambiguity by using overlapping secondary triads between source and destination scale (tutorial: Modal Meetup between Persichetti and Schillinger). Probably not the straightforward answer you were hoping for, but does this help in your creative thinking?
is there more info about the transformations? I am bit confused by the ccw {p1,p2,p3} -> {p3,p1,p2} how dose this translate to chord? I have c major scale and chord {1,3,5} and I apply ccw transformation then it will result the same chord? I mean the chord structure dose not change
@MrAlgorytmid, Thanks for the comment and question. Hope I understand your problem correctly. The video is about voicing in 3-part chord progressions, for the special case of symmetrically distributed roots. The progression is defined by the chord structures and root movement. The video lists all possible voicing options for a transformation from source to destination triad. Many of the examples involve both a transformation type selection and a chord root/structure change. The simple case, however, is the R0 root movement applied to a S1=CM (major) chord that moves to another CM target chord (i.e, constant root and structure), as you describe in your comment. The CCW transformation only changes the voicing. Let's assume we start with open position 2nd inversion CM, or {p3,p2,p1}={g,e,c} (lowest to highest part). The CCW transformation yields {p2,p1,p3}={e,c,g}, i.e., the 1st inversion, open position voicing. Chord root and structure have not changed as you inferred correctly, but the 3 parts have moved by leap. Does this help you understanding the transformation concept a bit better? There is a companion document on my website.
In order to best answer the question, I need to know what is meant by 'outline' in this context (forgive my poor understanding). Connecting triads at the interval of a major third emerged in the Romantic Era. The textbook example is Franz Schubert, with his overlapping pivot pitch chord changes. These chord connections are also frequently used by film and game music composers (epic, dramatic, SF). Watch the Rick Beato episode on Chromatic Mediant Modulations (different name for the same technique) on his Everything Music UA-cam channel. If this answer is incomplete, please respond. Thanks for asking!
I love your videos! Schillinger was the man! We have been studying the book for two years! Cheers from California, USA! Keep up the great work :D
+Abdul G Thanks for the kind words. Have a look at the articles and books on the Website, they might be useful additions to the condensed videos.
Frans can I ask you…. I can’t think of another place to goto when in Lydian. I thought C Lydian to C minor to G…. Or C Lydian to Ab Lydian… but it sounds too cliche… where would you go?
@ O M Your question is far more general than what is covered in this tutorial. It is more about composing with modal harmony. The Lydian mode is the obvious candidate for heroic-epic style phrases, but at some point you will want a change, either by moving to a new root (unimodal-polytonal) or to a fresh scale (polymodal-unitonal), or both. All options are available, and you suggest two paths, of which one has overall tonic-dominant, major-minor-major character (CLyd-Cm-G), the other film music Riemannian chromatic mediant character (CLyd-AbLyd). Both might work, depending on the final setting. Have you already planned the transition, moving from source to destination modal scale. Here are 2 suggestions: 1) Use the melodic modulation technique (2 tutorials: Schillinger's Theory of Pitch scales, 1st Group Pt3, and Melodic Modulation), 2) Create ambiguity by using overlapping secondary triads between source and destination scale (tutorial: Modal Meetup between Persichetti and Schillinger). Probably not the straightforward answer you were hoping for, but does this help in your creative thinking?
is there more info about the transformations? I am bit confused by the ccw {p1,p2,p3} -> {p3,p1,p2} how dose this translate to chord? I have c major scale and chord {1,3,5} and I apply ccw transformation then it will result the same chord? I mean the chord structure dose not change
@MrAlgorytmid, Thanks for the comment and question. Hope I understand your problem correctly. The video is about voicing in 3-part chord progressions, for the special case of symmetrically distributed roots. The progression is defined by the chord structures and root movement. The video lists all possible voicing options for a transformation from source to destination triad. Many of the examples involve both a transformation type selection and a chord root/structure change. The simple case, however, is the R0 root movement applied to a S1=CM (major) chord that moves to another CM target chord (i.e, constant root and structure), as you describe in your comment. The CCW transformation only changes the voicing. Let's assume we start with open position 2nd inversion CM, or {p3,p2,p1}={g,e,c} (lowest to highest part). The CCW transformation yields {p2,p1,p3}={e,c,g}, i.e., the 1st inversion, open position voicing. Chord root and structure have not changed as you inferred correctly, but the 3 parts have moved by leap. Does this help you understanding the transformation concept a bit better? There is a companion document on my website.
@@FransAbsil tnx for replay, ok i think i get it now, so cw ccw, other transformation in schillinger system are just inversions of chord.
any body knows how we can outline a triad chord? in what cases it is used?
In order to best answer the question, I need to know what is meant by 'outline' in this context (forgive my poor understanding). Connecting triads at the interval of a major third emerged in the Romantic Era. The textbook example is Franz Schubert, with his overlapping pivot pitch chord changes. These chord connections are also frequently used by film and game music composers (epic, dramatic, SF). Watch the Rick Beato episode on Chromatic Mediant Modulations (different name for the same technique) on his Everything Music UA-cam channel. If this answer is incomplete, please respond. Thanks for asking!